Summary
This track steps back from the immediate posture-game to show the longer absurdity of public meaning itself: words do not stay still, definitions do not remain innocent, and yesterday’s ordinary usage becomes today’s evidence, contamination, or coded alignment. It is comic, but not throwaway; it acts as one of the release’s clearest semantic-warfare songs.
Lyrics
First there were dinosaurs, obviously
Then Greeks and then the Romans, naturally
Then knights and plague and witches, more or less
Then mills and soot and children in distress
Then mud and wire and poppies in the rain
Then Hitler, blitz, and ration books again
Then came the Sixties, colour, sex, and speed
Then Thatcher, greed, then Blair, and there’s your feed
A lot went on between, I’m sure it did
But nothing with a poster quite that big
The years were full, the decades must have teemed
But not with things that anybody means
A brief history of what people mean
Not what occurred, but what can still be seen
A dozen hats, a slogan, and a scene
We keep the costume, lose the century
A brief history of what people mean
Small enough to carry into speech
Trimmed for effect and cleaned for easy reach
A handy past in packets neat and cheap
The Romans mean decline, or roads, or law
The Nazis mean the person you just saw
The trenches mean futility and class
Dickensian means someone thin with ash
The Seventies mean bins or flares or strikes
The Eighties mean ambition on a bike
The Nineties mean that spin became an art
And history means “this feels like the bad part”
It saves a lot of time, and time is tight
Why read a century to win a fight?
Take one remembered image, make it lean
And pin it to the argument at hand
A brief history of what people mean
Not what occurred, but what can still be seen
A dozen props arranged in moral themes
Every age reduced to one example
A brief history of what people mean
A schoolroom fact, a telly scene, a meme
A flare, a boot, a trench, a guillotine
Enough to let the present sound profound
Because there’s far too much of it, you see
Too many kings and Acts and treaties
Too many lives that failed to make the set
Too many years without a silhouette
So we keep Rome and blitz and loads of money
A miner’s lamp, a punk, a dead-eyed yuppie
The rest can sit in storage with the dust
If no one quotes it, was it really us?
Now every quarrel comes pre-dressed in time
With second-hand enormity attached
A housing bill in jackboots and in braid
A tax proposal storming through the Somme
A border row in blackshirts and in fog
A welfare cut in workhouse sepia
A student march in Paris, maybe Prague
Depending which old postcard fits the slot
And yes, it’s crude, but everyone agrees
The past is much too large for memory
So shave it down to things with names and sleeves
And let analogy perform the thought
A brief history of what people mean
Not what was lived, but what can be convened
A usable archive dressed for the screen
A thousand years reduced to handy feelings
A brief history of what people mean
Dinosaurs to Blair in under four minutes
We keep the costume, lose the century
Then ask why every argument looks staged
So if you need an empire, use the Romans
If you need decline, the same will do
If you need a tyrant, there is Hitler
If you need some hope, the Sixties might come through
And if whole nations lived and died between them
Well, yes, of course they did, I don’t deny it
It’s just that history has got to travel light
And these are the bits that fit
History
This track was developed as part of the Attainted Postures cluster where semantic warfare and posture politics came into close proximity. It ended up carrying more explanatory weight than some of the quicker satire pieces because it shows how the repertoire being mocked has a history, not just a tone. Morrow Glass was associated with the comic treatment here in earlier planning.
Meaning
The song is about the instability of public meaning in politicised environments. It shows that ‘what people mean’ is never just dictionary content: meaning is re-routed by conflict, memory, status, accusation, and the need to force language to do social work beyond description.